A Quote by Scott Westerfeld

Perhaps it's worth saying again: One reader's discomfort should never stand in the way of another reader's survival. — © Scott Westerfeld
Perhaps it's worth saying again: One reader's discomfort should never stand in the way of another reader's survival.
Every reader of your ad is interested, else he would not be a reader. You are dealing with someone willing to listen. Then do your level best. That reader, if you lose him now, May never again be a reader
The book is finished by the reader. A good novel should invite the reader in and let the reader participate in the creative experience and bring their own life experiences to it, interpret with their own individual life experiences. Every reader gets something different from a book and every reader, in a sense, completes it in a different way.
Every reader, as he reads, is actually the reader of himself. The writer's work is only a kind of optical instrument he provides the reader so he can discern what he might never have seen in himself without this book. The reader's recognition in himself of what the book says is the proof of the book's truth.
Every reader finds himself. The writer's work is merely a kind of optical instrument that makes it possible for the reader to discern what, without this book, he would perhaps never have seen in himself.
You can't be up the reader's ass, as many a writer I think is - cute as hell, ingratiating as hell. But that's not loving the reader in the right way. That's toadying to the reader.
Compose aloud: poetry is a sound. Never explain- your reader is as smart as you. Your reader is not just any reader, but is the rare one with ears in his head.
A reader's tastes are peculiar. Choosing books to read is like making your way down a remote and winding path. Your stops on that path are always idiosyncratic. One book leads to another and another the way one thought leads to another and another. My type of reader is the sort who burrows through the stacks in the bookstore or the library (or the Web site — stacks are stacks), yielding to impulse and instinct.
I am always considering the reader. Although this is admittedly kind of odd: Which reader? On what day? In what mood? For me, that "reader" is actually just me, if I had never read the story before.
When you're a war correspondent, the reader is for you because the reader is saying, 'Gee, I wouldn't want to be doing that.' They're on your side.
Surprise keeps the reader awake. The only alternative is to continue saying what the reader is expecting. What fun is that?
Before you can become a writer, you have to be a reader, and a reader of everything, at that. To the best of my recollection, I became a reader at the age of 10 and have never stopped. Like many authors, I read all sorts of books all the time, and it is amazing how the mind fills up.
For me, one of the reasons I love this form - the personal essay form - is because it's a way of forming an intimacy with the reader. What I'm saying to the reader is: I'm going to tell you something; I'm going to be generous; I'm going to offer. The confession, on the other hand, is sort of an imposition because you're asking the reader to forgive you or somehow exonerate you or say, "Hey, I'm even worse." But what I'm interested in doing is being generous and offering a perspective or suggesting a way of thinking about something.
The thing to remember when you're writing," he said, " is, it's not whether or not what you put on paper is true. It's whether it wakes a truth in your reader. I don't care what literary device you might use, or belief systems you tap into--if you can make a story true for the reader, if you can give them a glimpse into another way of seeing the world, or another way that they can cope with their problems, then that story is a succes.
We waste a lot of time and a lot of talent trying to write for the common reader, whom we will never meet. Instead we should be writing for our ideal reader.
Probably, subliminally, I think of the reader as a kind of collaborator. I don't want to say something for the reader that the reader could have said for himself.
Reading, therefore, is a co-production between writer and reader. The simplicity of this tool is astounding. So little, yet out of it whole worlds, eras, characters, continents, people never encountered before, people you wouldn’t care to sit next to in a train, people that don’t exist, places you’ve never visited, enigmatic fates, all come to life in the mind, painted into existence by the reader’s creative powers. In this way the creativity of the writer calls up the creativity of the reader. Reading is never passive.
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